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The first time I saw The Devil Wears Prada, I felt a sense of professional vindication.
The movie opened barely a month after I arrived in New York to take over as editor-in-chief of Marie Claire, and, unlike the endless clichés about fashion magazines being silly, bitchy, or trivial, it captured something real: The electricity. The speed. The ambition. The absurd glamour (or was it the glamorous absurdity?) of it all.
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